COURSE A – Tuesday 1-3 p.m. CONTEMPORARY FICTIONLecturer: Damiano PietropaoloTartu College, 310 Bloor St. West, entrance on Madison

September 13 – THE DOOR by Magda Szabo, translated by Len Rix This contemporary classic, originally published in 1987, is an unsettling exploration of the relationship between two very different women: the writer Magda, married to an academic, with an on-again-off-again relationship to Hungary’s Communist authorities; and the illiterate seemingly ageless peasant Emerence, who lives alone in a house that no one else may enter. October 11 – FIFTEEN DOGS by Andre AlexisIn a Toronto tavern the gods Hermes and Apollo, well into their cups, make a bet to imbue a handful of animals with human intelligence, consciousness and linguistic skills. Should any of those animals meet their end happier than they would have otherwise, Apollo must provide Hermes with a year’s servitude. The gods watch from above as the dogs venture into the city.November 8 – MEURSAULT INVESTIGATION by Kamel Daoud, translated by John Cullen. A timely retelling of Camus’ The Outsider through Arab eyes: winner of the Prix Goncourt first novel prize, The Meursault Investigation develops a specifically Algerian take on the absurd condition. In Camus' novel an Arab is murdered on the beach. Daoud re-imagines the story as narrated by the brother of the murdered Arab.December 13 – A MEASURE OF LIGHT by Beth PowningA historical novel on the dramatic life of Mary Dyer, a seventeenth-century Puritan who flees persecution in England, only to find the colony of Massachusetts Bay as dangerous as the country she left behind. Mary tries to accept New England's harsh realities, but is outraged by the cold-hearted Puritan magistrates, with their doctrinaire stranglehold on church and state, their subjugation of women, and their wars against the natives.January 10 – FATES AND FURIES by Lauren Groff A dazzling examination of a marriage. Every story has two sides. Every relationship has two perspectives. And some-times, it turns out, the key to a great marriage is not its truths but its secrets. The story of one such marriage over the course of twenty-four years. February 14 – THE ROCKS by Peter NicholsSet on the island of Mallorca, The Rocks is a double love story told in reverse. Opening in 2005 with a dramatic event that seems to seal the mystery of two lives, the story moves backwards in time, unraveling over sixty years, amid the olive groves and bars, the boats and poolside parties, the lives and relationships of two intertwined families within an expat community of endearing and flawed characters.March 7 – SWEETLAND by Michael CrummeyThe scarcely populated town of Sweetland rests on the shore of a remote Canadian island. Its slow decline finally reaches a head when the mainland government offers each islander a

generous resettlement package—the sole stipulation being that everyone must leave. Fierce and enigmatic Moses Sweetland is the only one to refuse; a spectacular portrait of one man's battle to survive as his environment vanishes around him. April 4 – SUBMISSION by Michel Houellebecq, translated by Lorin Stein It's 2022. François is bored. He's a middle-aged lecturer at the New Sorbonne University. In an alliance with the Socialists, France's new Islamic party sweeps to power. Islamic law comes into force. François is offered an irresistible academic advancement--on the condition that he convert to Islam: a devastating satirical look at the political turmoil of our times.

COURSE B – Wednesday 1-3 p.m. HUMAN RIGHTS IN WAR, CONQUEST, AND REVOLUTIONLecturer: Dr. Peter VronskyTartu College, 310 Bloor St. West, entrance on Madison

For 50,000 years humanity has been attempting to control and regulate its unique intellectual capacity to produce weapons of mass destruction. Anthropologists argue that human civilisa-tions are endowed with a “techno-humanitarian response” in which the more destructive the weapons become, the more sophisticated and evolved humanity’s political, social and legal means of inhibiting aggression becomes. By the 19th century, advanced industrial societies warring with each other entered into a series of international treaties, like the Hague Convention and the Geneva Convention which regulate the “usages and customs” of war and established agencies like the International Court of Justice, the League of Nations and the United Nations to violations known as “war crimes”. This course surveys the evolution of the usages, customs and laws of war, war crimes and genocide and explores how various states and their leaders have breached these laws and the problems of enforcing and prosecuting them to this day.

Sept 14 Introduction to Warfare, Slavery and Civilization: The “Laws of Conquest” Sept 21 1850-1900 Regulating the Laws and Customs of War – The Hague and Geneva Conventions – Warfare and Law in the Nineteenth CenturySept 28 1900-1937 Crimes without a name: the ‘Massacres’ of the Armenians in Turkey 1915; Fascist Italy in Libya and Abyssinia 1920-1937; Japan and the Nanking Massacre 1937. Oct 5 1918-1938 The Gulag and the Great Terror: Class War and Democide in Soviet RussiaOct 19 1933-1945 The Nazi Total War Part 1: Race Laws, Medical Murder in Germany and Racial War in the East

Oct 26 1933-1945 The Nazi Total War Part 2: The Final Solution and the Destruction of the European Jews and defining “Genocide” at the Nuremberg TrialsNov 2 1945-2011 War Crimes and Genocide after World War II: Cambodia, Yugoslavia, Rwanda and the problem of Darfur-SudanNov 9 Conclusion: The Laws and Customs of War in the Post-9/11 Drone age of the War on Terror

COURSE C – MONDAY 1-3 p.m.THE TONE POEM – STORIES IN MUSICLecturer: Rick PhillipsTartu College, 310 Bloor St. West, entrance on Madison

“The painter turns a poem into a painting: the musician sets a picture to music.” – Robert Schumann

Where the symphony and concerto are usually forms of absolute music, or music for its own sake, the orchestral tone poem (or symphonic poem) is programmatic - music that is inspired by an extra-musical idea, like a story, a person or a place. The composer of the tone poem not only attempts to describe the idea in music, but also to capture its essence, expression and emotions. With extensive musical examples, we will trace the origins and development of the tone poem, from Beethoven to the 20th century, arriving at a deeper musical understanding, appreciation and love.

September 12 – Intro, Beginnings, Austria & GermanyThe tone poem can be traced back to the early 19th century with the overtures by Beethoven, although Franz Liszt is often credited as the inventor. Both Liszt and Felix Mendelssohn opened up a brand new and imaginative world of musical expression. September 19 – FranceThe French took to the tone poem easily and thoroughly, fueled by the vivid imagination and creativity of composers like Hector Berlioz, Paul Dukas and Claude Debussy.September 26 – RussiaRussia has a long, rich history of great writers like Pushkin and Tolstoy, so it was a natural step to the tone poem and the “telling of stories in music.” We’ll hear ones by Mussorgsky and Tchaikovsky.October 31 – England and U.S.A.As the orchestra expanded, English composers of the late 19th and early 20th centuries found the tone poem very suitable to express their broad interests. Impressionism and other contemporary musical styles instil the tone poems by Gustav Holst, Frederick Delius and Ralph Vaughan Williams. Jazz and other American popular music styles are important elements in tone poems by U.S. composers like George Gershwin, Ferde Grofé and Charles Ives.

November 7 – Jean Sibelius, Richard StraussTwo of the finest composers of tone poems in history are the Finn Jean Sibelius and the German Richard Strauss. Both prolific in the form, in a wide range of topics and styles, Sibelius and Strauss brought new approaches, textures, orchestral effects and sonorities to the tone poem.November 14 – Miscellaneous (Italy, Czech, Hungary, etc.)In the wrap-up, we’ll sample from a variety of tone poems by composers of other nationalities, like those by Ottorino Respighi, Bedrich Smetana, Zoltan Kodaly and Bela Bartok.

COURSE D - Tuesday 1-3 p.m.CONVERSATIONS WITH PAULA CITRONLecturer: Paula CitronWomen’s Art Association of Canada, 23 Prince Arthur Ave. This entertaining course is back for its fifth year with another stellar line-up of guests. Audiences have a chance to get up close and personal in an intimate setting with these cultural movers and shakers. In this informal gathering, Ms. Citron interviews each guest at length, followed by questions from the audience. The result is a series of fascinating conversa-tions that track the guests from their early lives, to how they got to where they are now. Many laughs, a few surprises, and some very poignant moments. September 20 ILTER IBRAHIMOF, artistic director, Fall for Dance North, director/owner, Sunny Artist ManagementSeptember 27 VICTORIA BERTRAM, former principal character artist, National Ballet of CanadaNovember 1 MERVON MEHTA, executive director of perform-ing arts, Royal Conservatory of MusicNovember 15 CATHERINE NASMITH, restoration architect, urban advocateNovember 22 MAEV BEATY, actor, Toronto and StratfordNovember 29 MARLENE PERRY, former producer, CBC Fifth Estate, television writer, Los Angeles

SPECIAL LECTURE – MONDAY, NOVEMBER 21Lecturer: Dr. Sergei PlekhanovTartu College, 310 Bloor St. West, entrance on Madison

A POST-MORTEM ON ONE OF THE MOSTBIZARRE AND LEAST PREDICTABLE PRESIDENTIAL ELECTIONS IN US HISTORY.

WINTER SESSIONCOURSE E – Monday 1-3 p.m.ARCTIC CHALLENGES Lecturer: Sergei PlekhanovTartu College, 310 Bloor St. West, entrance on Madison

For centuries, the Arctic Ocean and the far northern regions of America and Eurasia have challenged mankind. The huge area on the Earth’s northern side has traditionally been regarded by most humans as almost a different planet - a frozen, ice-bound planet hostile to human settlement. Many daring explorers would venture into the Arctic – to try to understand it, to cross it to find new routes and lands, to reach the North Pole – and many perished there. In the 20th century, the Arctic was drawn into the mainstream of human history: it served as a battlefield in the two world wars and in the Cold War, its resources were increasingly available for economic use, cities were built, Arctic population was growing. Today, the Arctic presents the world community with new and unprecedented challenges, as climate change is melting its ice cap. The unfreezing of the Arctic offers great opportunities for navigation and economic develop-ment - but the environmental effects of the melting Arctic may be catastrophic for the planet as a whole. Arctic countries, including Canada, are being tested for their ability to contain their competition for control of the region and to work together to respond to the Arctic challenges in enlightened and effective ways.

January 9 – WHAT IS THE ARCTIC? The definitions of the region, its specific features from natural environment to human cultures.January 16 – THE AGE OF EXPLORATION. Stories of the brave Arctic explorers and their achievements.January 23 – ARCTIC BATTLEFIELDS. Why the region was crucial to the outcome of the three global conflicts of the past century.January 30 – ARCTIC DEVELOPMENT. From fishing and fur hunting to modern industries: patterns of economic development and social change on both sides of the Arctic Ocean.February 6 – THE IMPACT OF CLIMATE CHANGE. How climate change is transforming the Arctic, and what it means for the planet.February 13 – THE STRUGGLE FOR CONTROL. As the Arctic melts, international competition for control of its vast resources is becoming more intense, and international tensions are rising in the region. February 27 – THE IMPERATIVE OF COOPERATION. In contrast with zero-sum-game thinking of those who view the Arctic as an arena of new conflicts, people most familiar with the region recognize the fundamental need for international cooperation on all Arctic issues – from security to ecology.March 6 – ARCTIC PROSPECTS. The fate of the Arctic will be affected by larger trends in global politics. But global politics will be massively influenced by what happens in the Arctic.

Main reading:Charles Emmerson. The Future History of the Arctic. New York: Public Affairs, 2010

COURSE F – Tuesday 1-3 p.m. WHO’S AFRAID OF TORONTO ARTLecturer: Dr. Gerta MorayWomen’s Art Association of Canada, 23 Prince Arthur Ave.

Toronto is Canada's largest city, yet for visual artists it has been notoriously difficult to sustain a recognized art scene. Successive modern and contemporary art movements have left the general public puzzled or even hostile. As a result, Torontonians are still largely unaware of the rich history of art that has played out here. It is time to acknowledge what Toronto has contributed to modern art in Canada, and to give a local heritage the respect it deserves. We shall look at the evolution of the visual arts in Toronto since the Group of Seven, highlighting the local response to international currents of Western art, the evolving support systems of art galleries, artist-run centres and media, and the case histories of some of the most extraordinary local figures.

January 17 – FROM HOGTOWN TO METROPOLIS: The Group of Seven were rooted and based in Toronto but they managed to create a "national art" and continue to represent Canada in a wider international arena. January 24 – PAINTERS ELEVEN This group in the1950s gave Toronto its own abstract expres-sionist scene, with contrasting personalities such as Harold Town, William Ronald and internationally famed Jack Bush. January 31 – THE 1960S - CURRENTS AND COUNTERCURRENTS Competing and contradictory definitions of art produced the minimalist and philosophical approach of Michael Snow, the formal yet pop imagery of Joyce Wieland, and the figurative explorations of William Kurelek and Christiane Pflug.February 7 – GENERAL IDEA AND CONCEPTUAL ARTThe potential of new media to connect up a global village, and issues of consumerism, culture, and identity inspired artists from Vera Frenkel to General Idea, from Tanya Mars and Suzy Lake to Ian Carr-Harris and Mark Lewis.February 21 – POSTMODERNISM EXPLODESIN TORONTOThe return to painting and sculpture received a massive endorsement from a 1985 exhibition at the AGO, The European Iceberg. Alternative spaces hosted new initiatives by painters including the Chromazone group, Joanne Tod, and Will Gorlitz, and sculptors like John McEwen and the Fast Wurms. Traditional media were morphed and extended, as painting and sculpture approached installation or plundered imagery from the mass media and the historical past.February 28 – YESTERDAY FLOWS INTO TOMORROWWhen we look at what is in the galleries today we find a strong continuation of the themes of gender, race, and class that dominated the 1990s, but also a turn to play, pleasure and private collecting.

COURSE G – Thursday 1-3 p.m. TELLING TALES: THE PLEASURES AND PERILS OF NARRATIVE BALLETLecturer: Michael CrabbWomen’s Art Association of Canada, 23 Prince Arthur Ave.

People love stories and it’s no surprise that dance wants a piece of the action, whether it’s a family-friendly concoction like The Nutcracker or a tragic romance such as Giselle. Dance, however, has its limitations when it comes to story-telling. Choreographers struggle with the challenges of narrative ballet with varying degrees of success as they continue to experiment with ways of telling a tale. This course will also look at new examples, such as the National Ballet’s Alice’s Adventures in Wonderland, The Winter’s Tale, and Le Petit Prince, to examine how dance may be used as a narrative medium.MARCH 2 – THE LANGUAGE OF DANCE Dance is a wordless art form, yet people talk about “the language of dance” and “the vocabulary of movement,” and theatrical dance is often busy telling tales. Why would anyone try to load this on dance when written and spoken language seemingly do a better job of it? This introductory session looks at how and why choreographers are drawn to narrative with examples such as the beloved 18th-century comedy, La Fille mal gardée and such 20th century favorites as Onegin and Cinderella.MARCH 9 – MIME AND DANCE One way dance has tackled story-telling is to use mime, a kind of language of gesture, to relay specific narrative points, reserving pure dance as an appropriate emotional counterpoint. The divide between mime and dance is not clear-cut and in more recent years choreographers have endeavoured, as we’ll see by comparing a 19th-century classic such as The Sleeping Beauty with the Frederick Ashton masterpiece, A Month in the Country, to make the whole body the vehicle for conveying narrative.MARCH 23 – THERE ARE DIFFERENT WAYS TO TELL A STORYJust as in literature, in dance there is no standard formula for telling a story. For a long time, choreographers felt it was best to use a linear approach and many of the best-loved story ballets do this, but, as we’ll examine in this session, with John Neumeier’s Nijinsky as a typical example, there are other ways of building a narrative.MARCH 30 – TAKING LIBERTIES In the journey from page to stage, choreographers often take liberties with their original source material. Why do they do this, and does it really matter? And why would choreogra-phers not simply come up with their own original stories? We’ll look at examples, of how ballets drawn from literature or from opera often fiddle with the narrative.APRIL 6 – PICKING THE BEST In this session we’ll look at a selection of the most successful narrative ballets, old and new – among them Coppélia, Swan Lake, Romeo and Juliet – and discuss why it is that they work so well.APRIL 20 – TELLING THE STORY OF DANCEAlthough dance has often been used as a way of telling stories borrowed and adapted from other sources, primarily literature, dance itself can be the story. In this concluding session we’ll look at how the dance world has yielded fertile material for narrative drama, mostly, although not always, in movies such as The Red Shoes and The Turning Point.

30TH SEASON!2016-2017

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